Sunday, March 31, 2002


cannot assimilate this despair
study it
for an artist's despair is not just personal
despairing the practice implicates all hope
Everytime an actor plays they are asking the question
Does the play hold good?
And the answer has to be yes
it is the condition upon which a actor's life depends. 

A River Sutra - Gita Mehta, a novel of quest stories woven into an exquisite tapestry of secular-humanistic philosophy;

"It does. It does. I could quote Chandidas, the great Hindu mystic poet. The river in the novel is holy to Lord Shiva, who could be described as a great humanist god of the arts, beyond gender. The humanist tradition is native to India. Zen Buddhist thinking comes, as you know, from the Indian "Dhyana." Zen is a corruption of the term "dhyan," which means awareness. I'm very happy with your characterization. But you know, funnily enough, these constructs I can see only after writing the book. It's such a funny book, it seemed to write itself. I don't know whether it was because I had the good fortune of sitting on the banks of a river. Later, when I was in Varanasi, I talked with a professor of Sanskrit at the Hindu University. I told him that I had put the narrator in the novel later. I was trying to bring mythological time, historical time, contemporary time, and narrative time - all into say one paragraph. And he said that, you know, the "Sutradhar" of classical Sanskrit drama was there precisely for this. Just sheer chance."
(interview via Eclogues )

Friday, March 29, 2002

Imaging the Subconscious

Imaging the Subconscious: A Study of Surrealist Painting Techniques - Brief essay describing various methods that the surrealists used to try to tap into their subconscious mind in order to create their artworks. by Nancy Richter

d&P - silence. no words. just pictures, paintings, details and patterns

:: note :: ... artists found and released images from their unconsciousness through automatic processes such as decalcomania, frottage, parsemage, and sfumage ... ... looking for the details and patterns in life & the subconscious demands intense discipline - emotions pollute - researching the unconsciousness requires technicians of the sacred ... instruments of the soul? ... Students discussed: Does the mind generate the soul or the soul generate the mind? ... Simply study the details & patterns (d&p) from a center that extends beyond the known.

Friday, March 22, 2002

Radio Essays

. . . listening to the rebroadcast of the Massey Lecture 2001 by Janice Stein: The Cult of Efficiency . . . remembering the 2000 Lecture: the Rights Revoution by Michael Ignatieff . . .
When we see justice done - for example, when an unjustly imprisoned person walks free, when a person long crushed by oppression stands up and demands her right to be heard - we feel a deep emotion rise within us. That emotion is the longing to live in a fair world. Rights may be precise, legalistic, and dry, but they are the chief means by which human beings express this longing. (the Rights Revoution by Michael Ignatieff)

Thursday, March 21, 2002

Visual Essays

. . . profound examinations of events from the deeply personal to the broadly global . . . both take time to download & digest . . . we must take time to see . . . look & look & look again . . . A Walk Home & stereopticon

Tuesday, March 19, 2002

honour them

Abbe Normal requests: There's enough warblogs, how about some peaceblogs?
. . . agreeing . . .
In little reported news today, Saryodaya, a Sri Lankan organization that has long been working for peace, sponsored an event where an expected 500,000 people came together in Anuradhapura, Sri Lanka, to meditate for peace. Everyone was dressed in white, there were no speeches or speaking, just meditation. In a land where simply being for peace can easily get you killed, joining in this group meditation took courage, and made a powerful statement too.

(via Politics in the Zeros / Bob Morris /March 15)

Friday, March 15, 2002

on the road

. . . travelling with adolescents i am so impressed with their energy, their intelligence, their wit, their vulnerability . . . watching them work and confront & perform challenging material gives me great hope for the future . . . It is so discouraging listening to the news reports of terror & destruction & senseless murder . . .

what happens to us?

Monday, March 11, 2002


wonder what happened ?

syntaxerrors: a series of performed lectures

Press Release syntax errors are the symbols and letters produced by technology when given the task of translating data from one representational form to another:

"Artspeak will present a series of three 'performed lectures', investigating the relationship between authoritative language, presentation technologies and performance art.Three evening events will combine forms of art performance, pedagogical histrionics and conference tactics to create, along with technological tools, a form of cultural practice that confounds the categories of public address with inventiveness and humour. This series will negotiate the systems of language delivery found in performance art, with its history of personal confessional narrative and attention to the body of the Performer, and the passive authority and implied objectivity of the Speaker with her/his disembodied 'meta-voice©^. The series will take place in the hushed comfort and the seamless technological support of an SFU Harbour Centre lecture theatre.

In the context of 'Live: Vancouver Biennale of Performance Art', the series broadens the definition of performance to include a critical investigation of the relationship between language, technology and visual art, challenging festival audiences to consider the tradition of performance art in relation to institutional interventions."

Sunday, March 10, 2002

Faithfully, Fatefully, and Fatally Pinter

The New Theatre Co-op . . . The Birthday Party by Harold Pinter . . . Directed by Susan Williamson . . . with a stunningly caring hand she has shaped a classic of modern theatre into a edgy parable of deceptive & poignant terror . . .

. . .brilliant Pinter . . . the cliché, language of silence, made visible by the controlled and imaginative voice of the actor . . . brilliant Pinter . . . each moment, the precise choice of actions shatter our illusions (delusions) that we can celebrate the mundane daily existence . . . beat a drum, dance a waltz, play blind man's bluff, sing an irish song, make a toast . . . our glasses will be broken in the end . . . happy birthday. . . celebrate birth?

. . . brilliant Pinter . . . scene after scene gnaws at the borders of our attempts to construct meaning . . . the entire cast flawlessly touches Pinter's claustrophobic, almost archaic and ancient, soulscape with moments of intensity that open into the heart with an ease and immensity.

. . ."the nerves break" as each word is mercilessly articulated with a passionate cadence, an unexpected irony and cruel laugh . . . the characters jostle and juxtapose in complex relationships ranging from the recognizably banal to perpetually mysterious . . .

. . . the insignificant to sit or not to sit . . . relentless interrogation . . . thoughts repeated . . . meanings twisted . . . questions dissolving without resolution . . . the actors weave a seamless web physicalizing existential angst that emotionally permeates like a cold cup of tea . . . and we laugh at ourselves, moved by the humour - whether subtle & nuanced or bizarre & outrageous . . .

. . . plunged into darkness the voices pierce and startle, echoing chaotically against all hope and reason, defying rationality but inevitably lurching us towards a deterministic conclusion . . . death

. . . brilliant Pinter, a brilliant cast, brilliant direction . . .

Thank you Henry and Susan for sharing your skill, knowledge and wisdom. Your lights are a beacon for us all. The way of the actor lives with you. Amen.

Friday, March 08, 2002

Riddle Poems

Riddle Poems/ thanks to Alex Schroeder

Alone I know the answers all...

Alone i know the answers all,
But beware my thousand brothers:
Their noise will never know
Certainty, simplicity and serenity.
Who am I?

My ears are my eyes . . .

My ears are my eyes.
Your fears are but lies.

Answers & more.

Tuesday, March 05, 2002


the utanikki - carry the poem forward 

The utanikki is a Japanese form of personal diary, distinguished by its alternations between poetry and prose, its concern with process and the passage of time, its rejection for the need for daily entries, and its fictionalizing of events.

:: note :: ... hmmm ... a poetic journal of lived time ... add juxtapositions, slips, spaces, twists, gaps ... a rhetoric of space ... it's cold outside so watch that you don't slip on the ice ... especially in the early morning
... the light burns in the bathroom all the time ... the switch is broken ... the light burns in the office all the time ... the switch is broken ...
... always light but that doesn't help if the alarm clock runs randomly slow missing an hour here or there, when it pleases ... waking late today, running late but still on time ...

Saturday, March 02, 2002

two from Celan

O little root of a dream

you hold me here

undermined by blood,

no longer visible to anyone,

property of death.

Curve a face

that there may be speech, of earth,

of ardor, of

things with eyes, even

here, where you read me blind,



where you

refute me,

to the letter.


Don't sign your name

between worlds,


the manifold of meanings,

trust the tearstain,

learn to live.

(Glottal Stop : 101 Poems by Paul Celan. translated by Nikolai Popov and Heather McHugh, 107 - 108)

Asked to submit a favourite ... ... quest to find a new favourite that will live & redefine tomorrow as well as yesterday ... from the Preface of glottal stop H M, N P write:

Paul Celan died by drowning. He did it not just reflexively, but transitively: He died by drowning himself. As figures of floatation and immersion recur throughtout the poems, particularly those that refer to writing, it is natural that - like so much else in the Celanian legend - those figures come to seem fatefully proleptic. (As subjects and objects of or own regards, readers and writers of our own lives, we hold out as long as we - like "dreamproof tugs - each /with a vulture-claw / towing a part /of the still- /unsunken sign.") Paul Celan's attraction for readers today may be deeply ideogrammatical: He made himself a glancing stroke, a winking wave, withdrawal's sign. As waters rise toward iris-level, as the eye-globe is covered, a greatening force of mind informs the sensual field. In the face of grief, in the light of death, in the vale of tears, what does intellect do? Of sinking things, thinking sings.

Friday, March 01, 2002


Found at whiskey river

The second kind of witnessing is totally different. It is not that you hanker for others' attention: on the contrary, you start paying attention to yourself. You become a witness to your own being. You start watching your thoughts, desires, dreams, motives, greeds and jealousies. You create a new kind of awareness within you. You become a center, a silent center which goes on watching whatsoever is happening. You are angry, and you watch it. You are not just angry, a new element is introduced into it: you are watching it. And the miracle is that if you can watch anger, the anger disappears without being repressed.

Witness the witness itself - and... the ultimate ecstasy is created. Start watching your thoughts but don't stop there... One more thing has to be done, one more step: now watch the watcher... Nothing else is left, only you are. By watching the mind, the mind disappears. By watching the witness, the witness expands and becomes universal. via
(Osho. The Book of Wisdom.)

Comment: (more a personal reflection marking & pointing to the past days) ... to witness is to confirm, to recount in detail, with metaphors, orally and to propose ... previous posts struggled with the terms edit, critical ... to witness means to be still in the attention, to be very far away, within, absent from what is occurring ... an act ...